2) Revelation of The Mystery of Critical Religion, Or Fleur De Marie

["Fleur de Marie” is translated by the authors into German as “Marien-Blume” which means Marguerite]

a) The Speculative “Marguerite"'

A word more about Herr Szeliga’s speculative “Marguerite” before we go on to Eugène Sue’s Fleur de Marie.

The speculative “Marguerite” is above all a correction. The fact is that the reader could conclude from Herr Szeliga’s construction that Eugène Sue had

“separated the presentation of the objective basis” (of the “world system”) “from the development of the acting individual forces which can he understood only against that background”.

Besides the task of correcting this erroneous conjecture that the reader may have made from Herr Szeliga’s presentation, Marguerite has also a metaphysical mission in our, or rather Herr Szeliga’s, “epic”.

“The world system and an epic event would stillnot be artistically united in a really single whole if they were only interspersed in a motley mixture — now here a bit of world system and then there some stage play. If real unity is to result, both things. the mysteries of this prejudiced world and the clarity, frankness and confidence with which Rudolph penetrates and reveals them, must clash in a single individual ... This is the task of Marguerite.”

On one side is the “divine element” (Rudolph) to, which “all power and freedom” are attributed, the only active principle. On the other side is the passive “worldsystem” and the human beings belonging to it. The world system is the “ground of reality”. If this ground is not to be “entirely abandoned” or “the last remnant of the natural condition is not to be abolished”; if the world itself is to have some share in the “principle of development” that Rudolph, in contrast to the world, concentrates in himself; if “the human element is not to be represented simply as unfree and inactive”, Herr Szeliga is bound to fall into the “contradiction of religious consciousness”. Although he tears apart the world system and its activity as the dualism of a dead Mass and Criticism (Rudolph), he is nevertheless obliged to concede some attributes of divinity to the world system and the mass and to give in Marguerite a speculative construction of the unity of the two, Rudolph and the world (see Kritik der Synoptiker, Band 1, p. 39).

Besides the real relations of the house-owner, the acting “individual force”, to his house (the “objective basis”), mystical speculation, and speculative aesthetics too, need a third concrete, speculative unity, a Subject-Object which is the house and the house-owner in one. As speculation does not like natural mediations in their extensive circumstantiality, it does not realise that the same “bit of world system”, the house, for example, which for one, the house-owner, for example, is an “objective basis”, is for the other, the builder of the house, an “epic event”. In order to get a “really single whole” and “real unity"’ Critical Criticism, which reproaches “romantic art” with the “dogma of unity”, replaces the natural and human connection between the world system and world events by a fantastic connection, a mystical Subject-Object, just as Hegel replaces the real connection between man and nature by an absolute Subject-Object which is at one and the same time the whole of nature and the whole of humanity, the Absolute Spirit.

In the Critical Marguerite “the universal guilt of the time, the guilt of mystery”, becomes the “mystery of guilt”, just as the universal debt [a pun on the word “Schuld” which means “guilt” and “debt"] of mystery becomes the mystery of debts in the indebted Epicier[grocer].

According to the Mother-of-God construction, Marguerite should really have been the mother of Rudolph, the redeemer of the world. Herr Szeliga expressly says:

“According to the logical sequence, Rudolph should have been the son of Marguerite.”

Since, however, he is not her son, but her father, Herr Szeliga finds in this “the new mystery that the present often bears in its womb the long departed past instead of the future”. He even reveals another mystery, a still greater one, a mystery which directly contradicts mass-type statistics, the mystery that

“a child, if it does not, in its turn, become a father or mother, but goes to its grave pure and innocent, is ... essentially ... a daughter”.

Herr Szeliga faithfully follows Hegel’s speculation when, according to the “logical sequence”, he regards the daughter as the mother of her father. In Hegel’s philosophy of history, as in his philosophy of nature, the son engenders the mother, the spirit nature, the Christian religion paganism, the result the beginning.

After proving that according to the “logical sequence” Marguerite ought to have been Rudolph’s mother, Herr Szeliga proves the opposite:

“in order to conform fully to the idea she embodies in our epic, she must neverbecome a mother”.

This shows at least that the idea of our epic and Herr Szeliga’s logical sequence are mutually contradictory.

The speculative Marguerite is nothing but the “embodiment of an idea”. But what idea?

“She has the task of representing, as it were, the last tear of grief that the past sheds prior to its final passing away.”

She is the representation of an allegorical tear, and even this little that she is, is only “as it were”.

We shall not follow Herr Szeliga in his further description of Marguerite. We shall leave her the satisfaction, according to Herr Szeliga’s prescription, of “constituting the most decisive antithesis to everyone”, a mysterious antithesis, as mysterious as the attributes of God.

Neither shall we delve into the “true mystery” that is “deposited by God in the breast of man” and at which the speculative Marguerite “as it were” hints. We shall pass from Herr Szeliga’s Marguerite to Eugène Sue’s Fleur de Marie and to the Critical miraculous cures Rudolph accomplishes on her.

b) Fleur de Marie

We meet Marie surrounded by criminals, as a prostitute in bondage to the proprietress of the criminals’ tavern. In this debasement she preserves a human nobleness of soul, a human unaffectedness and a human beauty that impress those around her, raise her to the level of a poetical flower of the criminal world and win for her the name of Fleur de Marie.

We must observe Fleur de Marie attentively from her first appearance in order to be able to compare her original form with her Critical transformation.

In spite of her frailty, Fleur de Marie at once gives proof of vitality, energy, cheerfulness, resilience of character — qualities which alone explain her human development in her inhuman situation.

When Chourineur ill-treats her, she defends herself with her scissors. That is the situation in which we first find her. She does not appear as a defenceless lamb who surrenders without any resistance to overwhelming brutality; she is a girl who can vindicate her rights and put up a fight.

In the criminals’ tavern in the Rue aux Fèves she tells Chourineur and Rudolph the story of her life. As she does so she laughs at Chourineur’s wit. She blames herself because on being released from prison she spent the 300 francs she had earned there on amusements instead of looking for work. “But,” she said, “I had no one to advise me.” The memory of the catastrophe of her life — her selling herself to the proprietress of the criminals’ tavern — puts her in a melancholy mood. It is the first time since her childhood that she has recalled these events.

“Le fait est, que ça me chagrine de regarder ainsi derrière moi ... a doit être bien bon d'être honnête."[The fact is that it grieves me when I look back in this way ... it must he lovely to be honest]

When Chourineur makes fun of her and tells her she must become honest, she exclaims:

She insists that she is not one “to have fits of tears": “Je ne suis pas pleurnicheuse” [I am no cry-baby]; but her position in life is sad — “Ça nest pas gai.” [It isn’t a happy one] Finally, contrary to Christian repentance, she pronounces on the past the human sentence, at once Stoic and Epicurean, of a free and strong nature:

“Yes,” she replies, “more than once I looked over the embankment of the Seine; but then I would gaze at the flowers and the sun and say to myself: the river will always he there and I am not yet seventeen years old. Who can say? “On such occasions it seemed to me that I had not deserved my fate, that I had something good in me. People have tormented me enough, I used to say to myself, but at least I have never done any harm to anyone.”

Fleur de Marie considers her situation not as one she has freely created, not as the expression of her own personality, but as a fate she has not deserved. Her bad fortune can change. She is still young.

Good and evil, as Marie conceives them, are not the moral abstractions of good and evil. She is good because she has never caused suffering to anyone, she has always been human towards her inhuman surroundings. She is good because the sun and the flowers reveal to her her own sunny and blossoming nature. She is good because she is still young, full of hope and vitality. Her situation is not good, because it puts an unnatural constraint on her, because it is not the expression of her human impulses, not the fulfilment of her human desires; because it is full of torment and without joy. She measures her situation in life by ‘ her own individuality, her essential nature, not by the ideal of what is good.

In natural surroundings, where the chains of bourgeois life fall away and she can freely manifest her own nature, Fleur de Marie bubbles over with love of life, with a wealth of feeling, with human joy at the beauty of nature; these show that her social position has only grazed the surface of her and is a mere misfortune, that she herself is neither good nor bad, but human.

“Monsieur Rudolph, what happiness! ... grass, fields! If you would allow me to get out, the weather is so fine ... I should love so much to run about in these meadows.”

Alighting from the carriage, she plucks flowers for Rudolph, can hardly speak for joy”, etc., etc.

Rudolph tells her that he is going to take her to Madame George’s farm. There she can see dove-cotes, cow-stalls and so forth; there they have milk, butter, fruit, etc. Those are real blessings for this child. She will be merry, that is her main thought. “You can’t believe how I am longing for some fun!” She explains to Rudolph in the most unaffected way her own share of responsibility for her misfortune. “My whole fate is due to the fact that I did not save up my money.” She therefore advises him to be thrifty and to put money in the savings-bank. Her fancy runs wild in the castles in the air that Rudolph builds for her. She becomes sad only because she

“has forgotten the present” and “the contrast of that present with the dream of a joyous and laughing existence reminds her of the cruelty of her situation”.

So far we have seen Fleur de Marie in her original un-Critical form. Eugène Sue has risen above the horizon of his narrow world outlook. He has slapped bourgeois prejudice in the face. He will hand over Fleur de Marie to the hero Rudolph to atone for his temerity and to reap applause from all old men and women, from the whole of the Paris police, from the current religion and from “Critical Criticism”.

Madame George, to whom Rudolph entrusts Fleur de Marie, is an unhappy, hypochondriacal religious woman. She immediately welcomes the child with the unctuous words: “God blesses those who love and fear him, who have been unhappy and who repent.” Rudolph, the man of “pure Criticism”, has the wretched priest Laporte, whose hair has greyed in superstition, called in. He has the mission of accomplishing Fleur de Marie’s Critical reform.

Joyfully and unaffectedly Marie approaches the old priest. In his Christian brutality, Eugène Sue makes a “marvellous instinct” at once whisper in her ear that “shame ends where repentance and penance begin”, that is, in the church, which alone saves. He forgets the unconstrained merriness of the outing, a merriness which nature’s grace and Rudolph’s friendly sympathy had produced, and which was troubled only by the thought of having to go back to the criminals’ landlady.

The priest Laporte immediately adopts a supermundane attitude. His first words are:

“God’s mercy is infinite, my dear child! He has proved it to you by not abandoning you in your severe trials.... The magnanimous man who saved you fulfilled the word of the Scriptures” (note — the word of the Scriptures, not a human purpose!): “Verily the Lord is nigh to those who invoke him; he will fulfil their desires ... he will hear their voice and will save them ... the Lord will accomplish his work.”

Marie cannot yet understand the evil meaning of the priest’s exhortations. She answers:

“I shall pray for those who pitied me and brought me back to God.”

Her first thought is not for God, it is for her human saviour and she wants to pray for him, not for her own absolution. She attributes to her prayer some influence on the salvation of others. Indeed, she is still so naive that she supposes she has already been brought back to God. The priest feels it is his duty to destroy this unorthodox illusion.

“Soon,” he says, interrupting her, “soon you will deserve absolution, absolution from your great errors ... for, to quote the prophet once more, the Lord holdeth up those who are on the brink of falling.”

One should not fail to see the inhuman expressions the priest uses. Soon you will deserve absolution. Your sins are not yet forgiven.

As Laporte, when he receives the girl, bestows on her the consciousness of her sins, so Rudolph, when he leaves her, presents her with a gold cross, the symbol of the Christian crucifixion awaiting her.

Marie has already been living for some time on Madame George’s farm. Let us first listen to a dialogue between the old priest Laporte and Madame George.

He considers “marriage” out of the question for Marie “because no man, in spite of the priest’s guarantee, will have the courage to face the past that has soiled her youth”. He adds: “she has great errors to atone for, her moral sense ought to have kept her upright.”

He proves, as the commonest of bourgeois would, that she could have remained good: “There are many virtuous people in Paris today.” The hypocritical priest knows quite well that at any hour of the day, in the busiest streets, those virtuous people of Paris pass indifferently by little girls of seven or eight years who sell allumettes[matches], and the like until about midnight as Marie herself used to do and who, almost without exception, will have the same fate as Marie.

The priest has made up his mind concerning Marie’s penance; in his own mind he has already condemned her.. Let us follow Marie when she is accompanying Laporte home in the evening.

“See, my child,” he begins with unctuous eloquence, “the boundless horizon the limits of which are no longer visible” (for it is evening), “it seems to me that the calm and the vastness almost give us an idea of eternity.... I am telling you this, Marie, because you are sensitive to the beauties of creation.... I have often been moved by the religious admiration which they inspire in you-you who for so long were deprived of religious feeling.”

The priest has already succeeded in changing Marie’s immediate naive pleasure in the beauties of nature into a religious admiration. For her, nature has already become devout, Christianised nature, debased to creation. The transparent sea of space is desecrated and turned into the dark symbol of stagnant eternity. She has already learnt that all human manifestations of her being were “profane”, devoid of religion, of real consecration, that they were impious and godless. The priest must soil her in her own eyes, he must trample underfoot her natural, spiritual resources and means of grace, in order to make her receptive to the supernatural means of grace he promises her, baptism.

When Marie wants to make a confession to him and asks him to be lenient he answers:

“The Lord has shown you that he is merciful.”

In the clemency which she is shown Marie must not see a natural, self-evident attitude of a related human being to her, another human being. She must see in it an extravagant, supernatural, superhuman mercy and condescension; in human leniency she must see divine mercy. She must transcendentalise all human and natural relationships by making them relationships to God. The way Fleur de Marie in her answer accepts the priest’s chatter about divine mercy shows how far she has already been spoilt by religious doctrine.

As soon as she entered upon her improved situation, she said, she had felt only her new happiness.

“Every instant I thought of Monsieur Rudolph. I often raised my eyes to heaven, to look there, not for God, but for Monsieur Rudolph, and to thank him. Yes, I confess, Father, I thought more of him than of God; for he did for me what God alone could have done.... I was happy, as happy as someone who has escaped a great danger for ever.”

Fleur de Marie already finds it wrong that she took a new happy situation in life simply for what it really was, that she felt it as a new happiness, that her attitude to it was a natural, not a supernatural one. She accuses herself of seeing in the man who rescued her what he really was, her rescuer, instead of supposing some imaginary saviour, God, in his place. She is already caught in religious hypocrisy, which takes away from another man what he has deserved in respect of me in order to give it to God, and which in general regards everything human in man as alien to him and everything inhuman in him as really belonging to him.

Marie tells us that the religious transformation of her thoughts, her sentiments, her attitude to life was effected by Madame George and Laporte.

“When Rudolph took me away from the Cité, I already had a vague consciousness of my degradation. But the education, the advice and examples I got from you and Madame George made me understand ... that I had been more guilty than unfortunate.... You and Madame George made me realise the infinite depth of my damnation.”

That is to say she owes to the priest Laporte and Madame George the replacement of the human and therefore bearable consciousness of her degradation by the Christian and hence unbearable consciousness of eternal damnation. The priest and the bigot have taught her to judge herself from the Christian point of view.

Marie feels the depth of the spiritual misfortune into which she has been cast. She says:

“Since the consciousness of good and evil had to be so frightful for me, why was I not left to my wretched lot?... Had I not been snatched away from infamy, misery and blows would soon have killed me. At least I should have died in ignorance of a purity that I shall always wish for in vain.”

The heartless priest replies:

“Even the most noble nature, were it to be plunged only for a day in the filth from which you have been saved, would be indelibly branded. That is the immutability of divine justice!”

Deeply wounded by this priestly curse uttered in such honeyed tones, Fleur de Marie exclaims:

“You see therefore, I must despair!”

The grey-headed slave of religion answers:

“You must renounce hope of effacing this desolate page from your life, but you must trust in the infinite mercy of God. Here below, my poor child, you will have tears, remorse and penance, but one day up above, forgiveness and eternal bliss!”

Marie is not yet stupid enough to be satisfied with eternal bliss and forgiveness up above.

“On the contrary, happiness for you, Marie; happiness for you to whom the Lord sends this bitter but saving remorse! It shows the religious susceptibility of your soul.... Each of your sufferings is counted up above. Believe me, God left you awhile on the path of evil only to reserve for you the glory of repentance and the eternal reward due to atonement.”

From this moment Marie is enslaved by the consciousness of sin. In her former most unhappy situation in life she was able to develop a lovable, human individuality; in her outward debasement she was conscious that her human essence was her true essence. Now the filth of modern society, which has touched her externally, becomes her innermost being, and continual hypochondriacal self-torture because of that filth becomes her duty, the task of her life appointed by God himself, the self-purpose of her existence. Formerly she said of herself “Je ne suis pas pleurnicheuse” and knew that “ce qui est fait, est fait”. Now self-torment will be her good and remorse will be her glory.

It turns out later that Fleur de Marie is Rudolph’s daughter. We come across her again as Princess of Geroldstein. We overhear a conversation she has with her father:

“In vain I pray to God to deliver me from these obsessions, to fill my heart solely with his pious love and his holy hopes; in a word, to take me entirely, because I wish to give myself entirely to him ... he does not grant my wishes, doubtless because my earthly preoccupations make me unworthy of communion with him.”

When man has realised that his transgressions are infinite crimes against God he can be sure of salvation and mercy only if he gives himself wholly to God and becomes wholly dead to the world and worldly concerns. When Fleur de Marie realises that her delivery from her inhuman situation in life was a miracle of God she herself has to become a saint in order to be worthy of such a miracle. Her human love must be transformed into religious love, the striving for happiness into striving for eternal bliss, worldly satisfaction into holy hope, communion with people into communion with God. God must take her entirely. She herself reveals to us why he does not take her entirely. She has not yet given herself entirely to him, her heart is still preoccupied and engaged with earthly affairs. This is the last flickering of her strong nature. She gives herself entirely up to God by becoming wholly dead to the world and entering a convent.

A monastery is no place for him
Who has no stock of sins laid in,
So numerous and great
That be it early, be it late
He may not miss the sweet delight
Of penance for a heart contrite.[Goethe, Zahme Xenim IX]

In the convent Fleur de Marie is promoted to abbess through the intrigues of Rudolph. At first she refuses to accept this appointment because she feels unworthy. The old abbess persuades her:

“I shall say more, my dear daughter: if before entering the fold your life had been as full of error as, on the contrary, it was pure and praiseworthy ... the evangelical virtues of which you have given an example since you have been here would have atoned for and redeemed your past in the eyes of the Lord, no matter how sinful it was.”

From what the abbess says, we see that Fleur de Marie’s earthly virtues have changed into evangelical virtues, or rather that her real virtues can no longer appear otherwise than as evangelical caricatures.

Marie answers the abbess:

“Holy Mother, I now believe that I can accept.”

Convent life does not suit Marie’s individuality — she dies. Christianity consoles her only in imagination, or rather her Christian consolation is precisely the annihilation of her real life and essence — her death.

So Rudolph first changed Fleur de Marie into a repentant sinner, then the repentant sinner into a nun and finally the nun into a corpse. At her funeral not only the Catholic priest, but also the Critical priest Szeliga preaches a sermon over her grave.

Her “innocent” existence he calls her “transient” existence, opposing it to “eternal and unforgettable guilt”. He praises the fact that her “last breath” was a “prayer for forgiveness and pardon”. But just as the Protestant Minister, after expounding the necessity of the Lord’s mercy, the participation of the deceased in universal original sin and the intensity of his consciousness of sin, must praise the virtues of the departed in earthly terms, so, too, Herr Szeliga uses the expression:

“And yet personally, she has nothing to ask forgiveness for.”

Finally he throws on Marie’s grave the most faded flower of pulpit eloquence:

“Inwardly pure as human beings seldom are, she has closed her eyes to this world.”